Carol
Distinguishing the all-important contrast between the dreaminess of 1950s pop culture and its society’s antiquated views, Carol tells a tale of romance and self-discovery between two women at very different points in life. Todd Haynes masterfully and respectfully adapts Patricia Highsmith’s 1952 novel The Price of Salt for the big screen, intertwining stunning performances from Cate Blanchett (Carol Aird) and Rooney Mara (Therese Belivet) into its cinematic heart. Amalgamating a wonderful storyline, a stonking soundtrack, and acting and cinematography to die for, Carol easily makes the top 10. BM
Whiplash
The set is minimal; the dimly-lit auditoriums and soulless rehearsal rooms are bland but when the drumming begins, Whiplash becomes a ferocious piece of cinematic genius. The film, shot in 19 days, is built on the performances of promising drummer Andrew Neiman (Miles Teller) and an Oscar-winning J.K. Simmons, who portrays his brilliantly psychotic teacher Terence Fletcher. Like the film’s musical tempo, the emotional trauma doesn’t stop increasing and if the audience has any energy left, Whiplash‘s spectacular finale will sap it out of them. J.Os
The Martian
Ridiculously simplified synopsis: Man (Matt Damon) stranded on Mars uses science to not die before he is rescued. It’s funny, engaging and incredibly well-written for a film adaptation (based on Andy Weir’s book of the same name). There are a few scientific question marks, but it is certainly more science than fiction and as a result, the story holds up. And the acting? Well, I believed them. Matt Damon perfectly captures the loopiness of the long-term loner. For me, this is a perfect film. J.Or
Mad Max: Fury Road
2015 witnessed the return of myriad classic film franchises, one rather surprising comeback, however, was the return of Mad Max – which had not hit the box office since 1985. Written and directed by George Miller, Fury Road sets itself apart from other films with its use of practical effects over CGI, making for a refreshing and adrenaline-filled cinema experience. In combining high-octane action with maddening music and solid performances all-round, Mad Max is a highly re-watchable film, filled to the brim with raw entertainment and pure fun. MG
Inherent Vice
Inherent Vice is confusing, too long and a tad self-indulgent – it’s also a little bit brilliant. Joaquin Phoenix plays Doc, a dope head Philip Marlowe, who spends the entire film investigating something utterly unclear. Permanently stoned, Doc stumbles from one musing to another, meeting more bonkers characters without really establishing anything. This is pure marmite filmmaking and if you don’t fancy being led down a series of psychedelic dead-ends, this isn’t for you. But it is very funny and ultimately rewarding. RW
It Follows
Another sleeper hit that’s already guaranteed cult status. It Follows, well, follows Jay (Maika Monroe), who after getting involved with Hugh (Jake Weary), starts being stalked by a supernatural entity that can disguise itself as anyone. What distinguishes It Follows from similar films, however, is its constant tension and creeping dread, as the viewer is constantly reminded that whatever is pursuing Jay is unrelenting – leading to some genuinely unsettling scenes as you try to work out if the creature is actually in the shot or not. Ideally watched in a dark room, this is definitely a contender for scariest film of the year. TD
The Voices
‘Unique’ is probably the most accurate way to describe Marjane Satrapi’s black comedy. Despite being a film where Ryan Reynolds talks to his homicidally-inclined pets behind a disturbingly bright and cheerful palette of cinematography, it ended up being one of the most refreshingly funny films I’ve seen for a while – working, when perhaps a split-second judgment deems it should not. Combining dark, bloody humour with more psychological thriller aspects, this one has future cult classic written all over it already. TD
Sicario
Not since Zero Dark Thirty has there been a suspenseful, political action film like Sicario, which has been described as an ‘arthouse popcorn film’. With action that is sublimely choreographed and shot, the story is simple yet compelling – discussing the drug problem between Mexico and the USA, with every actor bringing something different to the film. One of the greatest aspects of the film in the broader sense is the audience’s relation with Emily Blunt’s character. She is not the most proactive protagonist, but exudes an incredible sense of realism in her performance. WB
The Lobster
Intriguing, baffling, peculiar, surreal and heartbreakingly overwhelming – The Lobster may be bizarre, but it’s also a modern masterpiece. With clever writing and dark humour alluding to an undercurrent of fear and loneliness, it’s an honest take on modern relationships, boasting incredibly innovative scriptwriting. The film brings concerns about the influence society has on marriage and love to the table through director Yorgos Lanthimos’ specific visual style which is not only beautiful but simultaneously uncomfortable. WB
A Girl Walks Home Alone at Night
In Iran, there are laws prohibiting films from being made at risk of execution. Ana Lily Amirpour’s weirdly exhilarating feature debut proves that if these rules where introduced to Hollywood, we may get a few decent films every year. Set in the fictional Iranian town of ‘Bad City’, A Girl Walks Home Alone at Night is an international cry to feminists in the backdrop of a dystopian patriarchal society, with a Vampire Western plot thrown in for good measure. It is a triumph to behold. ZL
